Music in the Eighteenth Century

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Overview

Eighteenth Century Music in its cultural, social, and intellectual contexts.
John Rice's Music in the Eighteenth Century takes the reader on an engrossing Grand Tour of Europe's musical centers, from Naples, to London, Berlin, Vienna, Prague, and St. Petersburg —with a side trip to the colonial New World. Against the backdrop of Europe's largely peaceful division into Catholic and Protestant realms, Rice shows how "learned" and "galant" styles developed and commingled. While considering Mozart, Haydn, and early Beethoven in depth, he broadens his focus to assess the contributions of lesser-known but significant figures like Johann Adam Hiller, Francois-André Philidor, and Anna Bon.Western Music in Context: A Norton History comprises six volumes of moderate length, each written in an engaging style by a recognized expert. Authoritative and current, the series examines music in the broadest sense—as sounds notated, performed, and heard—focusing not only on composers and works, but also on broader social and intellectual currents.

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Product Details

Meet the Author

John Rice has taught at the University of Washington, Colby College, the University of Houston, the University of Texas at Austin, the University of Alabama, and the University of Pittsburgh. His writings include Mozart on the Stage, Antonio Salieri and Viennese Opera, and Empress Marie Therese and Music at the Viennese Court, 1792–1807. He is the recipient of the American Musicological Society’s Otto Kinkeldey Prize and fellowships from the National Endowment for the Humanities and the American Philosophical Society.

Walter Frisch is H. Harold Gumm/Harry and Albert von Tilzer Professor of Music at Columbia University. He is the author of numerous books and articles, including Brahms: The Four Symphonies, The Early Works of Arnold Schoenberg 1903–1908, and German Modernism: Music and the Arts. He is the recipient of two ASCAP-Deems Taylor Awards and fellowships from the National Endowment for the Humanities, the Alexander von Humboldt Foundation, and the Center for Scholars and Writers at the New York Public Library.

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Table of Contents

Anthology Repertoire x

Series Editor's Preface xiii

Author's Preface xv

Chapter 1 The Encyclopedic Century 1

The Grand Tour 4

The "Fish-Tail" 5

Demographics and Religion 6

A Musicological Grand Tour 10

For Further Reading 14

Chapter 2 Learned and Galant 16

Old and New Musical Styles 19

Binary and Da Capo Form: Musical Common Ground 22

Coexistence and Interaction of Styles 23

Teaching and Learning 27

For Further Reading 29

Chapter 3 Naples 30

Musical Education 32

The Musico and Vocal Improvisation 35

Theaters 37

The Austrians in Naples, Vinci, and the Emergence of the Galant Style 38

Pergolesi and the Comic Intermezzo 41

For Further Reading 43

Chapter 4 Carnival Opera in Rome and Venice 44

Metastasio and Opera Seria 43

Theatrical Transvestism and the Roman Carnival: Latilla's Lafinta cameriera 49

Venetian Ospedali 54

"I Boast of My Strength": The Life and Music of Caterina Gabrielli 55

For Further Reading 58

Chapter 5 Instrumental Music in Italy and Spain 59

The Operatic Sinfonia, the Symphony, and the Orchestra 60

The Piano 62

Domenico Scarlatti 66

Boccherini and the Music Publishing Business 69

For Further Reading 72

Chapter 6 Paris of the Aacien Régime 73

Tragédie Lyrique at the Opéra 75

Opera Comique 76

Instrumental Music in Parisian Salons 82

Public Concerts and the Chevalier de Saint-Georges 84

For Further Reading 87

Chapter 7 Georgian London 88

Metropolis on the Thames 88

Ballad Opera 90

Italian Opera 93

Public Concerts 99

"Ancient" and Modern Instrumental Music 101

For Further Reading 105

CHAPTER 8 Vienna under Empress Maria Theresa 106

The Court Theater and the Theater at the Kärntnertor 108

Crisis, Reform, and a New Court Theater 108

Maria Theresa as Musician and Patron 110

Gluck and Viennese Opéra Comique 113

Operatic Reform and Orfeo ed Euridice 114

Church Music: Vanhal's Missa Pastoralis 116

Women at the Keyboard 118

For Further Reading 121

Chapter 9 Leipzig and Berlin 122

Leipzig in 1750122

Hiller as Organizer of Concerts and Composer of Singspiele 124

A Musician-King's Violent Coming of Age 126

Frederick's Opera Company and Graun's Montezuma 130

Carl Philipp Emanuel Bach 134

For Further Reading 138

Chapter 10 Courts of Central Europe: Mannheim, Bayreuth, and Eisenstadt/Eszterháza 139

Carl Theodor and Stamitz at Mannheim 140

Margravine Wimelmina and Anna Bon at Bayreuth 143

Joseph Haydn in Vienna and Eisenstadt 146

Haydn at Eszterháza and the Farewell Symphony 149

For Further Reading 152

Chapter 11 Galant Music in the New World 153

The Gold Cities of Minas Gerais 156

An Italian Musician in Mexico City 162

The Slave Colony of Jamaica and Samuel Felsted's Jonah 163

Music for the Moravian Lovefeast 166

For Further Reading 169

Chapter 12 St. Petersburg under Catherine the Great 171

Catherine the Great as Operatic Patron 174

Music and the Nobility: Nicholas and Prascovia 178

Giuseppe Sarti, Dmitry Bortniansky, and Russian Church Music 180

The Russian Horn Band 182

John Field's Forward-Looking Piano Music 183

For Further Reading 185

Chapter 13 Foreigners in Paris: Gluck, Mozart Salieri, Cherubini 186

Gluck at the Opéra 186

Mozart in Paris's Salons and Concert Rooms 190

Antonio Salieri and Les Danaïdes 193

Luigi Cherubini and the French Revolution 194

For Further Reading 199

Chapter 14 Mozart's Vienna 200

Joseph as Enlightened Monarch 201

New Patterns of Patronage 205

Public Concerts 206

Music in the Home 210

Opera Buffa 216

For Further Reading 220

Chapter 15 Prague 222

In the Shadow of White Mountain 222

Italian Opera 225

Mozart in Prague 226

Don Giovanni 228

A Coronation Opera for the "German Titus" 233

For Further Reading 236

Chapter 16 London in the 1790s 237

Rival Concert Series 237

Haydn's First Visit to England 239

Haydn's Second Visit 246

For Further Reading 253

Chapter 17 Vienna in the Napoleonic Era 254

Beethoven in Vienna: The 1790s 256

Gottfried van Swieten and Haydn's The Seasons 259

The Triumph of Cherubini's Les Deux Journées 260

Church Music as Counter-Revolutionary Symbol 261

Beethoven's Heroic Style 264

The Pastoral Symphony as Celebration of the Enlightenment 270

For Further Reading 274

Glossary A1

Endnotes A9

Credits A17

Index A19

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